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Focusing the lens: the role of travel and photography in the personal and working lives of Vanessa Bell and Duncan Grant

机译:聚焦镜头:旅行和摄影在Vanessa Bell和Duncan Grant的个人和工作生活中的作用

摘要

This thesis addresses how the photographic image contributed to the formation of the public and private identities of the artists Vanessa Bell and Duncan Grant. I propose that Bell and Grant primarily conceptualised photography as a medium of movement and it is this element that defines photographic images of them and their circle. Further, I suggest this definitive photographic element of their work situates them and the Bloomsbury Group in the development of English modernism in a new way.udChapter One explores the presence of movement in travel and tourism related photographic images from Bell and Grant’s own generation and previous generations in their families. It compares images of alpine adventures, colonial life and first journeys to Europe alongside sections of personal correspondence by both generations offering a ‘verbal sketch’ of the sights and sounds of the travel experience.udChapter Two considers how the photographic reproduction informs the development of public identity through an analysis of how Bell, Grant, Clive Bell and Julia Margaret Cameron used photographic images in the public arena and how contemporary media used photographs in assessments of their work.udChapter Three focuses on the nature of private physical and psychological photographic exchanges among both Julia Margaret Cameron’s circle and the Bloomsbury Group and looks at paintings by Bell and Grant that were inspired by personal and private photographs in their possession.udChapter Four examines how the visual expression of monumentality and movement in photographs taken by Bell, Grant and their predecessors demonstrates a clear interest in making connections with past artistic and photographic traditions. The culmination of this discussion identifies defining features of the Bloomsbury photograph as created by Vanessa Bell and shows how it incorporates movement as a primary element of her photographic aesthetic.
机译:本文探讨摄影图像如何促进艺术家Vanessa Bell和Duncan Grant的公共和私人身份的形成。我建议贝尔和格兰特首先将摄影概念化为运动的媒介,而正是这一元素定义了摄影及其圆周的摄影图像。此外,我建议他们的这种确定性的摄影元素使他们和布鲁姆斯伯里集团以一种新的方式处于英国现代主义的发展中。 ud第一章探讨了贝尔和格兰特同辈和他们家庭中的前几代人。它比较了阿尔卑斯山历险记,殖民地生活和第一次去欧洲的旅程的图像,以及两代人之间的个人往来信件,提供了旅行经历的景象和声音的“口头草图”。 ud第二章考虑了摄影复制品如何促进摄影的发展。通过分析贝尔,格兰特,克莱夫·贝尔和朱莉娅·玛格丽特·卡梅伦如何在公共场所使用摄影图像以及当代媒体如何在其工作评估中使用照片来分析公共身份。 ud第三章着重讨论了私人生理和心理摄影交流的性质茱莉亚·玛格丽特·卡梅隆(Julia Margaret Cameron)的圈子和布鲁姆斯伯里集团(Bloomsbury Group)中的人,都看了贝尔和格兰特(Bell and Grant)的画作,这些画的灵感来自于他们所拥有的私人和私人照片。 ud第四章探讨了贝尔,格兰特(Bell),格兰特(Grant)和他们的前辈对建立联系表现出明显的兴趣具有过去的艺术和摄影传统。这场讨论的高潮确定了凡妮莎·贝尔(Vanessa Bell)创作的布卢姆斯伯里(Bloomsbury)照片的定义特征,并展示了该运动如何将运动作为其摄影美学的主要元素。

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    Field Claudia Louise;

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  • 年度 2015
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